Essays and Lectures. Wilde Oscar

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      Essays and Lectures

      PREFACE

      With the exception of the Poems in Prose this volume does not contain anything which the author ever contemplated reprinting. The Rise of Historical Criticism is interesting to admirers of his work, however, because it shows the development of his style and the wide intellectual range distinguishing the least borné of all the late Victorian writers, with the possible exception of Ruskin. It belongs to Wilde’s Oxford days when he was the unsuccessful competitor for the Chancellor’s English Essay Prize. Perhaps Magdalen, which has never forgiven herself for nurturing the author of Ravenna, may be felicitated on having escaped the further intolerable honour that she might have suffered by seeing crowned again with paltry academic parsley the most highly gifted of all her children in the last century.

      Of the lectures, I have only included those which exist, so far as I know, in manuscript; the reports of others in contemporary newspapers being untrustworthy. They were usually delivered from notes and were repeated at various towns in England and America. Here will be found the origin of Whistler’s charges of plagiarism against the author. How far they are justified the reader can decide for himself, Wilde always admitted that, relying on an old and intimate friendship, he asked the artist’s assistance on one occasion for a lecture he had failed to prepare in time. This I presume to be the Address delivered to the Art Students of the Royal Academy in 1883, as Whistler certainly reproduced some of it as his own in the ‘Ten o’clock’ lecture delivered subsequently, in 1885. To what extent an idea may be regarded as a perpetual gift, or whether it is ethically possible to retrieve an idea like an engagement ring, it is not for me to discuss. I would only point out once more that all the works by which Wilde is known throughout Europe were written after the two friends had quarrelled. That Wilde derived a great deal from the older man goes without saying, just as he derived so much in a greater degree from Pater, Ruskin, Arnold and Burne-Jones. Yet the tedious attempt to recognise in every jest of his some original by Whistler induces the criticism that it seems a pity the great painter did not get them off on the public before he was forestalled. Reluctance from an appeal to publicity was never a weakness in either of the men. Some of Wilde’s more frequently quoted sayings were made at the Old Bailey (though their provenance is often forgotten) or on his death-bed.

      As a matter of fact the genius of the two men was entirely different. Wilde was a humourist and a humanist before everything; and his wittiest jests have neither the relentlessness nor the keenness characterising those of the clever American artist. Again, Whistler could no more have obtained the Berkeley Gold Medal for Greek, nor have written The Importance of Being Earnest, and The Soul of Man, than Wilde, even if equipped as a painter, could have evinced that superb restraint characterising the portraits of ‘Miss Alexander,’ ‘Carlyle,’ and other masterpieces. Wilde, though it is not generally known, was something of a draughtsman in his youth.

      Poems in Prose were to have been continued. They are the kind of stories which Wilde would tell at a dinner-table, being invented on the spur of the moment, or inspired by the chance observation of some one who managed to get the traditional word in edgeways; or they were developed from some phrase in a book Wilde might have read during the day. To those who remember hearing them from his lips there must always be a feeling of disappointment on reading them. He overloaded their ornament when he came to transcribe them, and some of his friends did not hesitate to make that criticism to him personally. Though he affected annoyance, I do not think it prevented him from writing the others, which unfortunately exist only in the memories of friends. Miss Aimée Lowther, however, has cleverly noted down some of them in a privately printed volume.

Robert Ross

      THE RISE OF HISTORICAL CRITICISM

      This Essay was written for the Chancellor’s English Essay Prize at Oxford in 1879, the subject being ‘Historical Criticism among the Ancients.’ The prize was not awarded. To Professor J. W. Mackail thanks are due for revising the proofs.

      I

      Historical criticism nowhere occurs as an isolated fact in the civilisation or literature of any people. It is part of that complex working towards freedom which may be described as the revolt against authority. It is merely one facet of that speculative spirit of an innovation, which in the sphere of action produces democracy and revolution, and in that of thought is the parent of philosophy and physical science; and its importance as a factor of progress is based not so much on the results it attains, as on the tone of thought which it represents, and the method by which it works.

      Being thus the resultant of forces essentially revolutionary, it is not to be found in the ancient world among the material despotisms of Asia or the stationary civilisation of Egypt. The clay cylinders of Assyria and Babylon, the hieroglyphics of the pyramids, form not history but the material for history.

      The Chinese annals, ascending as they do to the barbarous forest life of the nation, are marked with a soberness of judgment, a freedom from invention, which is almost unparalleled in the writings of any people; but the protective spirit which is the characteristic of that people proved as fatal to their literature as to their commerce. Free criticism is as unknown as free trade. While as regards the Hindus, their acute, analytical and logical mind is directed rather to grammar, criticism and philosophy than to history or chronology. Indeed, in history their imagination seems to have run wild, legend and fact are so indissolubly mingled together that any attempt to separate them seems vain. If we except the identification of the Greek Sandracottus with the Indian Chandragupta, we have really no clue by which we can test the truth of their writings or examine their method of investigation.

      It is among the Hellenic branch of the Indo-Germanic race that history proper is to be found, as well as the spirit of historical criticism; among that wonderful offshoot of the primitive Aryans, whom we call by the name of Greeks and to whom, as has been well said, we owe all that moves in the world except the blind forces of nature.

      For, from the day when they left the chill table-lands of Tibet and journeyed, a nomad people, to Ægean shores, the characteristic of their nature has been the search for light, and the spirit of historical criticism is part of that wonderful Aufklärung or illumination of the intellect which seems to have burst on the Greek race like a great flood of light about the sixth century B.C.

      L’esprit d’un siècle ne naît pas et ne meurt pas à jour fixe, and the first critic is perhaps as difficult to discover as the first man. It is from democracy that the spirit of criticism borrows its intolerance of dogmatic authority, from physical science the alluring analogies of law and order, from philosophy the conception of an essential unity underlying the complex manifestations of phenomena. It appears first rather as a changed attitude of mind than as a principle of research, and its earliest influences are to be found in the sacred writings.

      For men begin to doubt in questions of religion first, and then in matters of more secular interest; and as regards the nature of the spirit of historical criticism itself in its ultimate development, it is not confined merely to the empirical method of ascertaining whether an event happened or not, but is concerned also with the investigation into the causes of events, the general relations which phenomena of life hold to one another, and in its ultimate development passes into the wider question of the philosophy of history.

      Now, while the workings of historical criticism in these two spheres of sacred and uninspired history are essentially manifestations of the same spirit, yet their methods are so different, the canons of evidence so entirely separate, and the motives in each case so unconnected, that it will be necessary for a clear estimation of the progress of Greek thought, that we should consider these two questions entirely apart from one another. I shall then in both cases take the succession of writers in their chronological order as representing the rational order – not that the succession of time is always the succession of ideas, or that dialectics moves ever in the straight line in which Hegel conceives its advance. In Greek thought, as elsewhere, there are periods of stagnation and apparent retrogression, yet their intellectual development, not merely in the question of historical criticism, but in their art, their poetry and their philosophy, seems so essentially normal, so free from all disturbing external influences, so peculiarly rational, that in following in the footsteps of time we shall